Tag: Third Reich cinema

Tobias Hochscherf and Roel Vande Winkel

26 September 2017

Germans really believe that the early bird catches the worm. This, at least, is our impression. Having been to the Bundesarchiv (Federal Archive) on countless occasions, we’ve never managed to be there first, getting the prestigious locker key number one. And we’ve tried, believe us! Last June we met in Berlin Mitte for a quick coffee at 7:00 am and took the S-Bahn to Lichterfelde West on time for the opening of the archive … only to find out that many others were already waiting in front of the massive steel gates of the former garrison in which the Berlin branch of the national archive is located.

Apropos location, the place of the national archives alone breathes history. Whereas some archives were purpose-built to accommodate the various materials, the national archives in Berlin-Lichterfelde [link] seem rather provisionally located at a military garrison that could well be regarded a monument about 20th century German history. Built from 1873 to 1878 for Prussian cadets next to a newly designed bourgeois neighbourhood for officers and their families, the barracks were later used by the Leibstandarte-SS “Adolf Hitler”, the German dictator’s personal bodyguards during the Third Reich. During the “Night of the Long Knives”, several murders were committed within the military compound to eliminate SA men.

After the war, the barracks were then used by American troops who renamed the place as Andrews Barracks [link]. Throughout the entire complex, this problematic heritage could well be seen, including the exercise yard, SS-Statues that were concealed by concrete but are still at the entrance gate, and what looks suspiciously like Übermensch-statues at the gates to an enormous swimming pool one passes on the way from the main gate to the reading room of the archive. The people who decided to turn this old garrison – which was built to wage war – into an archive ought to be complimented for this decision. Right where some atrocities of the 20th century were planned, people are now able to study even the dark moments of German and European history. The site of the archive thereby also represents a modern-day democratic Germany.

It is somewhat odd to be reminded of what has happened at exactly this location through the years under Nazi rule after walking down from S-Bahn station Lichterfelde through the leafy and peaceful neighbourhood with its many stunning villas, parks and children’s playgrounds. The area does not really feel like being somewhere in the German capital but rather like staying at a small affluent town.

During busy days at the archive – looking through the maximum allowance of 50 files a day – it’s good to go for a walk. There’s plenty to see for film historians nearby, including the grave of German film star Renate Müller, who fell out of grace with the Nazis and was under constant surveillance by the Gestapo prior to her sudden death in 1937 (the circumstances of which are still unknown), or the former houses of the Jewish-German television entertainer Hans Rosenthal, the actor Götz George (son of Heinrich George) or the industrialist Werner von Siemens.

But coming back to the archives, such institutions are of course somewhat linked to national character traits. We have visited many other invaluable archives for media historians, including the lovely BBC written archives centre in Caversham, Berkshire (if you haven’t been there before: GO!), the National Archives at Kew and others. Yet no other place is quite like the Bundesarchiv. It is very German – in a good and a bad way. The online database and tool for ordering documents INVENIO is bureaucratic and not really self-explanatory [link]. Some members of staff may seem distant, but they are very helpful. Never try to enter the reading room with your coat on or bringing a backpack (which is generally true for all libraries in Germany and Austria). Some people have tried and what followed wasn’t really something you folks want to try! And always remember: don’t take pictures at a desk without the corresponding sign – it doesn’t matter who you are or what you are in fact doing at the archive. There are no exceptions.

Yet, there is something we love about the archive, something the archive shares with Berlin: its makeshift atmosphere. You can bring your own mobile phones or tablets to take pictures, the mundane locker room looks like a forlorn train station somewhere in the remote parts of the USSR during the Cold War. Even the prices of the instant coffee machine seem to be from 1989. Yet you find the most interesting people there, going for a walk outside or a coffee. Scholars of audio-visual media and history, holocaust survivors researching their family history, pensioners trying to find information about their former companies or family homes, etc. Everyone seems to have the same shining eyes, being fascinated by piecing together information from original archival documents to make sense of their history(ies). Like Sherlock Holmes and Dr. Watson during their adventures, they are beguiled by what they have found or – like academic gold diggers to use another image – by what they might find soon. They all feel the excitement when they open up hitherto closed files or personal records, helping them to understand what has happened. The Bundesarchiv really is a treasure trove for researchers – one of the archives where academics and the general public can get access to documents almost without restrictions. Everyone who has ever received documents in which some government officials or lawyers redacted lengthy passages, will be happy to see that this is generally not the case at the German national archives.

Given the wealth of information, the Bundesarchiv’s pilot project to take pictures of documents with your own devices is ever more welcome. In the past, users had to order photocopies of documents which arrived a few weeks later by post. Although the cost was – compared to other national archives – quite reasonable, extensive research could still amount to considerable sums of money. Certainly an investment into one’s future – but nevertheless not easy for all. This was a problem especially to those who could not rely on the generous support of research institutions or other sources of funding, including many early-career researchers and pensioners. Under the regulations of the current pilot project, costs can be kept at a minimum. There are, however, restrictions on documents related to individuals: those documents can be photocopied, but not photographed. The logic escapes us. There must be something odd about German privacy/data legislation.

If you plan a trip to the Bundesarchiv, order all documents at least a day before. The use is free of charge and you may bring a pencil, a laptop or mobile electronic devices. The holdings are massive, including, for media scholars, the surviving documents of Goebbels’ ministry of propaganda, of Ufa and the other German film companies from the Weimar Republic and the Nazi era or the German Democratic Republic’s DEFA. The archive is open from 8 to 7 during regular workdays, except for Friday, when it closes at 4. It is closed on Sundays and national holidays. Nota bene: if you are interested in the Bundesarchiv’s holding of films and publications about films, you should go the Bundesarchiv-Filmarchiv, which will move to Lichterfelde eventually, but is currently still in the centre of Berlin, at Fehrbellinerplatz. In comparison to the Bundesarchiv in Lichterfelde, the Bundesarchiv-Filmarchiv is much more formal. Part of the building at Fehrbelliner Platz is inhabited by a branch of the Bundesnetzagentur (Federal Network Agency) that regulates telecommunications as well as electricity, gas, post and railway markets in Germany. Because of security concerns, access is very restrictive and you are only allowed into the building by appointment. Perhaps this will change when all Berlin branches of the archives will be moved to Lichterfelde. Let’s hope so.

Please send us a message and a photograph if you are ever able to beat the Germans in getting locker key number one for a day at the archive!

Tobias Hochscherf and Roel Vande Winkel are both members of the IAMHIST council. They are working on various themes relating to Third Reich cinema for some time. While they usually collaborate through skype and other means of online communication, they welcome the opportunity to meet face-to-face when going to archives. Tobias is professor for audiovisual media at the University of Applied Sciences Kiel and the University of Flensburg. Roel is professor of film & TV studies at the LUCA School of Arts in Brussels and the University of Leuven, Belgium.

Disclaimer: The IAMHIST Blog is a platform that offers individual scholars the opportunity to present their work and thoughts. They alone are responsible for the content, which does not represent the view of the IAMHIST council or other IAMHIST members.